A guide to all the songs from 'Evita'

Learn about the songs from Andrew Lloyd Webber and Tim Rice's second hit show, including "Buenos Aires", "Rainbow High", and "Don't Cry for Me Argentina".

A musical about Eva Perón was Tim Rice’s rather unconventional idea after he heard a radio programme about the late first lady of Argentina and thought it would be an excellent project to work on with his writing partner Andrew Lloyd Webber. The duo rose to fame with Jesus Christ Superstar, which brought rock-concert energy to the last days of Jesus Christ and pushed numerous boundaries regarding style and form in musical theatre.

The musical was first presented to the public as an album led by Julie Covington as Eva and Colm Wilkinson as everyman narrator Che. The 1978 West End premiere, directed by Harold Prince, starred Elaine Paige and David Essex, while Patti LuPone and Mandy Patinkin led the show on Broadway. The musical has been revived numerous times over the years and you can read LondonTheatre.co.uk’s guide to the production history of Evita here.

Lloyd Webber’s Latin-flavoured music is infused with tangos and paso dobles as well as contemporary rock influences, and the score features many of Rice’s cleverest lyrics (he has said that Evita is the project that he’s proudest of). The score includes the hits “Oh What a Circus”, “Another Suitcase in Another Hall”, and, of course, “Don’t Cry for Me Argentina”.

The show returns to London this summer in an exciting new production directed by Jamie Lloyd and starring Rachel Zegler (Steven Spielberg's West Side Story, Romeo and Juliet on Broadway). Read on for our guide to the songs from this ground-breaking score.

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"Requiem for Evita"

“It is the sad duty of the Secretary of the Press to inform the people that Eva Perón, spiritual leader of the nation, entered immortality at 20:25 hours today.” We start at the end with the announcement of the heroine’s death in a cinema in Buenos Aires. The nation thereby enters an intense period of mourning for their First Lady, known as “Evita”.

“Oh What a Circus”

Che, a sceptical Argentinian everyman who provides a sardonic commentary throughout the show, emerges from the crowd to challenge Evita’s saintly image and the “crazy” displays of mourning. Sure, “She had her moments, she had some style” but once the funeral is over, surely the nation will see that “she did nothing for years?” The real tragedy is that Argentina itself is in shambles since “Show business kept us all alive / Since 17 October 1945 / But the star has gone, the glamour's worn thin / That's a pretty bad state for a state to be in.” This number shares the same composition as the later “Don’t Cry for Me Argentina” with a faster tempo (and rock interludes), establishing the characters of Che and Eva as two halves of one whole.

“On This Night of a Thousand Stars”

We flash back to 1934, where a 15-year-old Eva Duarte meets tango singer Agustín Magaldi, who has “the distinction of being the first man to be of use to Eva Duarte”.

“Eva, Beware of the City”

Eva insists that Magaldi takes her to Buenos Aires. He is hesitant, due to the dangers of the city and her youth. Eva’s first sung lines showcase her forceful personality: “Bad is good for me / I’m bored, so clean, and so ignored… I'm gonna be part of B.A. Buenos Aires, Big Apple.”

“Buenos Aires”

Eva arrives in the Argentine capital in a whirlwind of chaotic energy, which perfectly matches a city that she personifies as “You're a tramp, you're a treat / You will shine to the death, you shoddy.” Her requirements aren’t exactly modest: “Put me down for a lifetime of success / Give me credit, I'll find ways of paying.” What can the unknown Eva Duarte offer Buenos Aires? “Just a little touch of star quality.” It’s less of an “I want” song than “I demand” — and it's one of the best in the score.

“Goodnight and Thank You”

Eva breaks up with Magaldi: she’s achieved some success as a model and radio and film actress and has had a string of other lovers who can help her to further progress in her career.

“The Art of the Possible”

The military demonstrate their new strategy. On her radio show, Eva informs the public “We are tired of the decline of Argentina with no sign of / A government able to give us the things we deserve.” Army colonel Juan Perón seems to be the future.

“I’d Be Surprisingly Good for You”

Eva and Perón meet at a charity concert and are mutually attracted. He praises her acting, which “takes us away from the squalor of the real world”. She senses an opportunity and immediately initiates a sexual relationship but not a one-night stand: “I'm not talking of a hurried night / A frantic tumble then a shy goodbye / Creeping home before it gets too light / That's not the reason that I caught your eye / Which has to imply I’d be good for you.” This deeply sensual tango number explores an attraction that’s based on opportunism on both sides but also has the potential to be a partnership with real influence.

“Another Suitcase in Another Hall”

Perón is a notorious womaniser and Eva kicks out his current mistress, essentially making her homeless in the process. Despite her youth, the unnamed Mistress has a pragmatic worldview and is used to such treatment and exploitation. Unlike Eva, she isn’t ambitious and “Never fooled myself that my dreams would come true.” “So, what happens now?” Chances are she’ll be “maybe not that fine, but I’ll survive anyhow”. In the 1996 film version, the song was performed by Eva (Madonna) after leaving Magaldi.

“A New Argentina”

Perón runs for president with Eva as his de facto campaign manager. She rallies support among the working-class “descamisados” (literally “those without shirts”). “I am a worker and I've suffered the way that you do / I’ve been unemployed and I've starved and I hated it too” – salvation will be found with Perón’s new regime. Perón notes that having to take part in elections and obtain a majority is an “inconvenience” and “there are other ways of establishing authority”. This number marks the end of the first act and by the time we return, Eva and Perón have been married.

“Don’t Cry for Me Argentina”

Following a landslide victory in the 1946 election, Perón becomes president of Argentina. Eva addresses the nation from the balcony of the Casa Rosada (the president’s residence) with this political speech in the form of a grand ballad. Despite being “dressed up to the nines”, she presents herself as a vulnerable figure, explaining that “I still need your love after all that I’ve done.” She rebuffs accusations of self-interest: “And as for fortune and as for fame / I never invited them in.” She pledges her sincerity and devotion to the country in the famous chorus. This number pays homage to the many emotive speeches that the real Eva Perón gave to her followers and is one of the most famous diva numbers in all of musical theatre.

“High Flying Adored”

As Eva dances with her husband at the inauguration ball, Che observes the way in which she has the allure of “a cross between a fantasy of the bedroom and a saint”. Has she peaked too soon? Eva acknowledges that, “I was stuck in the right place at the perfect time / Filled a gap, I was lucky / But one thing I'll say for me / No one else can fill it like I can.”

“Rainbow High”

Eva prepares to tour Europe and it’s imperative that she looks the part of the glamorous first lady. Her “Eyes, hair, mouth, figure / Dress, voice, style, movement / Hands, magic, rings, glamour / Face, diamonds, excitement, image!” all have to be perfect. “I came from the people, they need to adore me / So Christian Dior me from my head to my toes,” she demands. She has to outshine the aristocracy, whom she despises.

“Rainbow Tour”

Eva is a huge hit in Franco’s Spain and her husband is told, “Your wife’s a phenomenal asset, your trump card.” Italy, however, isn’t so keen (“They equate Perón will Mussolini, can’t think why”) but she nevertheless meets the pope. However, in France, “she suddenly seemed to lose interest / She looked tired.” Mixed reviews overall, but nothing but raves in the Argentinian media.

“And the Money Kept Rolling In”

Eva establishes the Eva Perón Foundation, which funds all kinds of worthy initiatives – and would the nation’s spiritual leader begrudge a few “expenses” in return for all her hard work?

“Waltz for Eva and Che”

In a dream following a collapse at church, Eva is questioned by Che about her actions. She informs him, “How can one person like me, say / Alter the time-honoured way the game is played?” There’s no glory in trying to change society from the sidelines and she just wants to give the “descamisados” “a magical moment or two”. She admits that she hasn’t got long left to live.

“You Must Love Me”

Eva admits her physical and emotional vulnerability to her husband. This song was originally written by Lloyd Webber and Rice for the film adaptation, winning an Oscar for Best Original Song, and has subsequently been incorporated into the stage production.

“She is a Diamond”

Perón’s generals are tired of Eva’s interference but he makes it clear that she will bow out on her own terms.

“Montage”

As Eva dies of cancer, a montage of highlights from her life are re-enacted. Eva might be dead but an icon has been born.

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